Sneezing. Coughing. Yawning. When does it start? The hall is dark, and the murmurs of the expectant crowd can be heard. Where to begin? What topic to choose first? Where to find the point of our existence. Is it here and now, or there and later? Right from the beginning of the performance, the audience can ponder the futility of the actions, words, and movements of the actors. To proceed without reflection.
Kýchnout si. Zakašlat. Zívnout. Kdy to začne? V sálu je tma, je slyšet šumění očekávajícího davu. Čím začít? Jaké téma si vybrat jako první? Kde hledat pointu v našem bytí? Je to tady a teď nebo tam a jindy? Hned od začátku inscenace divák může přemýšlet nad zbytečností činů, slov a pohybů, které tři mladé herce nutí jít dál. Pokračovat bez rozmyslu.
Not Found is an original production by three performers from the Dimitri Academy in Switzerland, which, in addition to the theme, also seeks answers to a number of questions. The summary of the production describes a state in which we long to know as many answers as possible, but the multitude of them overwhelms us and we get lost in new and new question-ending formulations. And that is exactly what the production is. It was created based on a single request that the students were given. Create the performance you want to create right now!
Not Found, autorská inscenácia troch performerov zo švajčiarskej Akadémie Dimitri, ktorá okrem témy hľadá aj odpovede na množstvo otázok. Anotácia inscenácie opisuje stav, v ktorom túžime spoznať čo najviac odpovedí, no ich množstvo nás zahlcuje a my sa strácame v nových a nových otáznikom ukončených formuláciách. A presne takou je aj inscenácia – tá vznikla na základe jedinej požiadavky, ktorú mali študenti zadanú. Vytvorte predstavenie, ktoré chcete vytvoriť práve teraz!
The human body and its entire system of tiny, sophisticated nerves and resilient muscles do not form a mere shell for the mind, but rather offer it a partner that can withstand its broad spectrum.
Ľudské telo i celý jeho systém drobných prepracovaných nervov a odolne neodolných svalov netvorí len obyčajnú predmetovú schránku mysle, ale naopak jej ponúka partnera, aký ustojí jej širokospektrálnosť.
At 4:48 in the morning, the author of this play, Sarah Kane, would regularly wake up. What she faced throughout her life, she poured into her work. This play, chosen by three Serbian students for adaptation, has a very heavy and sad story. Autobiographical elements cannot be overlooked, but the author did not provide any “manual” for staging this play. A hospital environment accompanies the audience throughout the entire performance. Frequent interaction compels the audience to observe, be vigilant, alert, and search within the enormous cloud of text permeating the room. The theme of depression, thoughts bombarding the mind, feelings of loneliness and helplessness – all of this can be heard, seen, felt.
Ve 4:48 ráno se autorka této hry Sarah Kane pravidelně budila. To, čemu po dobu svého života čelila, vložila do své práce. Divadelní hra, kterou si tři srbští studenti vybrali ke zpracování má velmi těžký a smutný příběh. Autobiografické prvky nemůžeme přehlédnout, ale žádný „manuál“ k inscenování této hry autorka neposkytla. Prostředí nemocnice diváky provází po dobu celého představení. Častá interakce nutí publikum pozorovat, být bdělí, ostražití a pátrat v obrovském oblaku textu, který místnost prostupuje. Téma depresí, myšlenek bombardujících mysl, pocit samoty a bezmoci – všechno to je slyšet, vidět, cítit.
Psychosis 4:48 is a fragmentary text with an unconventional dramatic plan, a highly emotional ride across a fragmented human consciousness. By its very composition, themes, undetermined space-time and characters (no gender is specified, but neither is the number), the text compels a distinctly loose interpretation. However, the basic information for a sort of orientation can be deduced: the fragmentary story of a patient and her psychiatrist. The course of her treatment in a psychiatric hospital is accompanied by a detailed medical history and narrative monologues that alternate between the poetic and the prosaic. The thematic framework is also wide-ranging: suicide, critiques of outdated psychiatric practices, religious and social aspects, the symbolic linking of time and space, peer compatibility, and toxicity (which is based on the role of the dominant versus the submissive), and, finally, redemptive love – redemption or just a subtle drop of liquid into a sea of suffering.
